Du Fu's Thatched Cottage
A clear and beautiful Huanhua River surrounds the thatched cottage. The gurgling water moistens the surroundings of the thatched cottage, making it lush with flowers and trees, exuding an elegant atmosphere. and full of vitality. Most people of our generation have a special attachment to Du Fu. From "Two orioles chirping in the green willows, and a row of egrets ascending to the blue sky" to "The howling autumn wind in August rolled up the triple thatch on my house", these were our first literary memories. . Most people may not know the place where Du Fu was born or died. However, the thatched cottage of "West House of Wanli Bridge and North Village of Baihuatan" is the coveted residence of the "Poetry Saint".
Under the autumn sun, the thatched cottage glows with a bright golden luster, making the silky thatch appear rich in texture. Green bamboos and plantains nestle against the earthen walls and bamboo windows, leaving a wall full of green shade and filtering out the hustle and bustle of the world. In the quiet courtyard, rough and solid stone tables and benches are placed randomly, adding to the warm country atmosphere. The short bamboo fence was covered with wisteria and miscellaneous flowers, whispering in the autumn wind in memory of old friends. I remember that the poet once wrote in "Tangcheng": "The alder forest blocks the sun and sings the wind and the river, and the bamboos and the smoke drop the dew." The place where a great poet of a generation settled down was so simple and simple. Only in this way can the thatched cottage survive among the people, connect with the family, and remain in history forever. And how many magnificent palaces were so splendid at the time, and then were lost in the mist of history.
When I stepped into the thatched cottage, I couldn't help but walk lightly, for fear of disturbing Lao Du's "poetry". Yes, the poet lived in poverty all his life, his talents were not found, and he was in a state of poverty. At the end of the second year of Qianyuan (759) of Emperor Suzong of the Tang Dynasty, in order to avoid the Anshi Rebellion, Du Fu, who had suffered a lot from the chaos, took his wife and children from Long to Sichuan. At first, he stayed in an ancient temple in the western suburbs of Chengdu, relying on his old friend, who was then the governor of Pengzhou, Sichuan. The governor Gao Shi helped. In the early spring of 760, when the flowers were red and the willows were green, a friend found a quiet place for him by the Huanhua River and built a house. However, he was already penniless at this time. After his cousin Wang Fifteen Sima learned about it, he generously offered help in times of need. funding. For this reason, the poet said with great gratitude in the poem "The King's Fifteenth Sima Di came out of Guo to visit the thatched cottage of the abandoned camp": "Why are the guests moving here? The riverside is lonely. I am willing to come to find an old man, but I am worried. It's so bad now. I'm worried about my camp in Maodong, and I'm carrying my money across the wild bridge. I'm only a cousin in a foreign country, but I don't want to quit my work."
The poet who has been living in poverty for a long time has finally found a place. It can provide shelter from wind and rain and a warm nest of your own. Although it is a shabby and low thatched cottage, the poet is very satisfied and self-admired. "The cottage is shaded by white grass on the back" and "the old wild wall is still home with low walls". To this end, the poet made poetic arrangements and management inside and outside the thatched cottage, opened up flower gardens, vegetable gardens, and medicinal gardens, built pergolas, built thatched pavilions, and dug wells and ponds. The scenery was quite beautiful in the countryside and became the poet's life. The most beautiful spiritual home in China. He lived here for nearly four years and wrote more than 240 poems, including the immortal masterpiece "Song of the Thatched Cottage Broken by the Autumn Wind", which has become an eternal masterpiece of concern for the country and the people and fraternity.
The short poetry table in the study room with mud floors and walls is about one foot wide and three feet long. There is a pair of pens and poems on it. A ray of autumn sunshine casts on the inkstone, exuding the fragrance of ink. There is still some residual wine in a coarse porcelain cup on the corner of the table. In his poem "Posted to Jiangwai Thatched Cottage", Lao Du once said calmly: "A drinker loves wind bamboo, and a fortune teller must live in a forest spring." On this most ordinary miscellaneous wood poetry table, Lao Du created something Such a brilliant poem in the history of Chinese literature. I recall that in the morning when the sun was red and the flowers were fragrant, or in the middle of the night when the moon was shining in the thatched cottage and the autumn insects were singing, the poet was with the table, writing, singing and dancing, and left many beautiful poems on the paper. No wonder Han Yu, a Tang Dynasty man, said bluntly in "Tiao Zhang Ji": "Li Du's articles are as bright as ever."
Introduction:
The pen name is Lin Mu. Shanghainese. Entered the workforce in 1971. Since 1985, he has been the editor of "Shanghai Culture and Art News" and "Wenhui Film Times". In 1992, he worked at Shanghai People's Broadcasting Station as chief editor. In 1978, he began to publish reviews, novels, essays, etc. Joined the Chinese Writers Association in 2005. Member of Chinese Calligraphers Association. He has been to Japan and Singapore to hold personal art exhibitions and give lectures. He is the author of "General History of Chinese Art" and a collection of novellas "Six Notes on Shanghai". He has published more than 300 reviews, novels, essays and essays in newspapers such as "Literary News", "Shanghai Literature", "Novel Circle", "Wenhui Daily", "Liberation Daily" and other newspapers. He won the Sixth and Eighth "Five Ones" Project Awards of the Central Propaganda Department, and his paper "Theory of Structural Aesthetics of Radio Drama" won the first prize of the National Expert Award of the Ministry of Radio, Film and Television.